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Converting “The DiVacci Curse” from the Stage to a Short Story

I originally wrote the “The DiVacci Curse” as a one-act play when I was in the midst of a playwriting class in college way back when. Converting it from a play to a short story proved a fun and interesting challenge. In a play, much of the story is told through the character’s actions onstage. In a story or novel that same action has to be described in detail so that the reader can create those very images in their mind. Details can be given in graphic, vivid description and exposition or they can be conveyed via character dialog.

An actor’s face and body language can show his or her reaction to a particular line of dialog delivered by a different character in the play, but in a novel or story the author must describe the character’s reaction clearly and unambiguously so as not to confuse the reader or lead their assumptions down a wrong or confusing path; unless, however, misdirection is the author’s intended purpose. This method is particularly effective when writing a mystery or thriller. This is not always an easy task to achieve. It’s a fine balance and a tricky line to walk for the author. Not enough detail can leave the action unclear and vague. Too much detail and the writer runs the risk of boring the reader and disrupting the pace of the story.

Some aspects of “The DiVacci Curse” remain in their original stage form from when I wrote it in college, but quite a lot of the action was changed and more detail was added for the short story. Can you locate the parts of “The DiVacci Curse” that were changed to make them more practical for the short story? After you read it, I encourage your comments and reactions.

Until I blog again…..

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2 thoughts on “Converting “The DiVacci Curse” from the Stage to a Short Story”

Hey Brad. I’ve read “TDC.” I have to say it was scary (some parts actually stayed in my mind for a while…) but pretty exciting and entertaining! I liked the characters you created, too. I can imagine that converting a stage play to a novel can be challenging. I thought about the question you asked in your post. I don’t want to be a spoiler of the story, but how about the part where the two main characters are driving to their house in a fancy sports car through the woods. It seems that part could be explained in words better than trying to show it on the stage. I could be wrong, but I gave it a shot!

Thank you very much for your comment and for taking “The DiVacci Challenge!”

Yes, you are exactly right. A particular part at the beginning of the story takes place in the protagonists’ car. For a play onstage, that scenario would be more challenging to create and choreograph. Unless the production has access to an actual car and can drive it onto the stage during the performance somehow, or build a fake car or cockpit to simulate an actual car, then the effect would not be very convincing and could detract from the authenticity of the play. I have seen some stage plays where actual vehicles were driven onto the stage and the effect was very genuine. I have also seen other plays where only two simple chairs where used and the actors pretended to drive an invisible car with an invisible steering wheel. This approach works fine for an improvised or impromptu performance, but is not very convincing for a full-blown stage play; at least not if the production wishes to be taken seriously. However, I also understand that production budgets vary and high school and college play budgets can rarely (if ever) compete with Broadway budgets.

On the other hand, in a novel, the very same scenario can be explained in detail so that the reader can use their imagination and fill in the gaps. Some effects like engine sound, wind, rain and the splattering of mud on the car are very difficult to convey effectively onstage and can be hard to control in general. A story makes it much easier to express these actions authentically.

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